Commercial
Forest of Beauty
Commercial
Forest of Beauty
Commercial
Forest of Beauty
Tasks: Modeling, Shading, Fabric Simulation, Rendering, Keying, Compositing, Retouch
Tasks: Modeling, Shading, Fabric Simulation, Rendering, Keying, Compositing, Retouch
Software: Marvelous Designer, C4D, 3D Coat, ZBrush, Octane, AfterEffects
Software: Marvelous Designer, C4D, 3D Coat, ZBrush, Octane, AfterEffects
In this TV commercial a young woman wanders through an enchanted forest and discovers a wide variety of beauty products.
In this TV commercial a young woman wanders through an enchanted forest and discovers a wide variety of beauty products.
In this TV commercial a young woman wanders through an enchanted forest and discovers a wide variety of beauty products.
Live-Action
Seamlessly integrating a real-life woman into a completely digital world required detailed planning. Therefore, the vfx supervisor and the director of photography jointly created a 3D layout and which then was matched as closely as possible during filming.
CG World
The fantastical world itself was crafted using a variety of assets. Some were purchased from asset stores and retextured to match the desired style, while I was responsible for creating the more fantastical assets in ZBrush.
Compositing
Once the world had been set up for the individual shots matching the layout, they needed to be lit and rendered, before compositing the life-action footage. I completed these steps for the following sequence:
Live-Action
Seamlessly integrating a real-life woman into a completely digital world required detailed planning. Therefore, the vfx supervisor and the director of photography jointly created a 3D layout and which then was matched as closely as possible during filming.
CG World
The fantastical world itself was crafted using a variety of assets. Some were purchased from asset stores and retextured to match the desired style, while I was responsible for creating the more fantastical assets in ZBrush.
Compositing
Once the world had been set up for the individual shots matching the layout, they needed to be lit and rendered, before compositing the life-action footage. I completed these steps for the following sequence:
Live-Action
Seamlessly integrating a real-life woman into a completely digital world required detailed planning. Therefore, the vfx supervisor and the director of photography jointly created a 3D layout and which then was matched as closely as possible during filming.
CG World
The fantastical world itself was crafted using a variety of assets. Some were purchased from asset stores and retextured to match the desired style, while I was responsible for creating the more fantastical assets in ZBrush.
Compositing
Once the world had been set up for the individual shots matching the layout, they needed to be lit and rendered, before compositing the life-action footage. I completed these steps for the following sequence:
Credits
Flaconi
Client
Neverest
Production
Luis de Maia
Director, Director of Photography
Serviceplan Berlin
Agency
Maggy Fischer
Post-Producer
Manuel Kotulla
Animation & VFX Supervisor
Flaconi
Client
Serviceplan Berlin
Agency
Neverest
Production
Maggy Fischer
Post-Producer
Luis de Maia
Director, Director of Photography
Manuel Kotulla
Animation & VFX Supervisor
Flo Wolff
Colour Grading
Inés Koßack
Layout, Lighting, Rendering, Keying, Compositing
Janine Meyer
Edit
Manuel Kotulla
Layout, Lighting, Rendering, Keying, Compositing
Robert Csakvari
Layout, Lighting, Rendering, Keying, Compositing
Tanja Kerner
Modeling, Shading, Layout, Lighting, Rendering, Keying, Compositing
Flo Wolff
Colour Grading
Manuel Kotulla
Layout, Lighting, Rendering, Keying, Compositing
Inés Koßack
Layout, Lighting, Rendering, Keying, Compositing
Robert Csakvari
Layout, Lighting, Rendering, Keying, Compositing
Janine Meyer
Edit
Tanja Kerner
Modeling, Shading, Layout, Lighting, Rendering, Keying, Compositing